Film Score Friday 7/31/98
by Lukas Kendall
Once again I've stayed up way too late so my comments in this news column
will range from brief to none.
Someone has asked what the music in the trailer to Return of Paradise
is. Anyone know?
The Replacement Composers
Yesterday
we had some news on some scores being replaced in part or full.
From: Jeffswim@aol.com
Why all the sudden composer changes in recent years?? Most of them
have not been very newsworthy, but now it seems like top-notch composers
are being pulled out for "commercial value" or creative differences,
but in the case of Halloween:H2O, this was a dumb move: why put in a temp
track when this film has nothing to do with Scream? John Ottman has done
some good suspense work (notably The Usual Suspects), and I am sure his
score was very gripping.
More surprising to me is Patrick Doyle's replacement by John Williams
in Stepmom. This is a high-profile film, but not the usual fare for Williams
lately (he hasn't done a comedy since Sabrina). It should be a nice score,
and a stark contrast to his recent work. But to have written a full score
only to have it scrapped at the last second is not good form. Why is the
film score industry under such reconstruction?
I'll only point out that rejected scores are nothing new and this latest
flurry of them is par for the course. Typically, a film is in trouble,
the studio is desperate to do anything to improve it, and since they can't
recast it, have probably already recut it, and may have even reshot some
of it, rescoring it is the easiest avenue to take.
From: MaestroJW@aol.com
Do you have anymore details on why Williams is now scoring Stepmom?
As a devout Williams fan, I cannot understand why Williams would re-score
a picture that already has a sufficient soundtrack, or even want to. Furthermore,
if it is from Chris Columbus and if it is titled Stepmom, it sounds like
a silly comedy movie undeserving of John Williams' music. Even though Williams
did compose some lovely music for the Home Alone movies, I always thought
he was way above films like those (especially the awful Home Alone 2) and
hoped that they would be his last... It would seem to me that even if Williams
REALLY wanted to score this movie he should, out of professional courtesy
to colleague Patrick Doyle, bow out of this project... but, again, I don't
know any of the details, were the producers unhappy with Doyles score?
Did they originally seek Williams before Doyle was signed on?
What I have heard is that originally Columbus was pleased with Doyle's
score, but as dubbing approached he wanted some cues rewritten. Doyle was
going to do that, but during this period of time Williams's agents (who
are very powerful) pressured the studio and filmmakers into using Williams
instead. Who knows what Williams really thinks in all this, but many times
compsoers will jump to replace a score because if they don't, chances are
someone else will.
Even if this film is fairly soft, it behooves a composer like Williams,
or any composer, to maintain a relationship with a director like Chris
Columbus. Nobody wants to say "I don't like your film, get lost,"
and then miss out on working on something great down the line. It's like
breaking up with a girlfriend... maybe you're annoyed now, but you KNOW
you'll want her back later if you walk.
From: LogieD@aol.com
In a case like Doyles being replaced by Williams on Stepmom, what
happens to:
1. Does Doyle get payed his full fee?
2. Who now owns the score?
3. Can it be used or adapted to another movie? Do composers do that
on a regular basis?
Comment: Composers should unite and produce an unused score compilation
of Suites. Silva would do a great job or maybe Kunzel will do it, they
haven't done anything good lately.
1. Yes. 2. Either the studio or the composer-- it depends if the composer's
deal provided for the rights to revert to him (sometimes after a period
of time) in the event of non-use. 3. I guess so. It's happened before:
Jerry Goldsmith's theme to The Russia House was originally written
when he was doing Wall Street, and then used in his unused score
to Alien Nation, before it ended up in The Russia House.
From: "Nick Rheinwald" <nrheinwa@emerald.tufts.edu>
I also noticed from a recent trailer for "The Avengers"
that Joel McNeely has taken over composing duties from Michael Kamen.
Yes, this is correct.
20th Century Fox Compilation
re: our
Wednesday review:
From: Chris Kinsinger <76263.2355@compuserve.com>
Thank you, Thank you, Mr. Cutts! I cannot believe it! (well. . .yes,
I can.) I held the 20th Century-Fox Compilation CD in my hot little hand
less than 24 hours ago. There were so many stickers plastered over the
back of it that I could not read the contents of the compilation. I didn't
buy it, thinking, "I'll wait and see what FSM has to say about this
one." Thank you again, Mr. Cutts. I'll pick that baby up TOMORROW!
Your review has me tingling with anticipation! (Just another fine public
service provided by the Film Score Monthly website.)
From: Preston Jones <pjones@fulpat.com>
I was very pleased to see Mr. Cutts' review, but he didn't tell
me what I most wish to know; in other words, he said nothing about the
Alex North "Ballet" track from DADDY LONG LEGS. In the film,
North's ballet contribution is a 3-parter. First, a Ravel-inspired waltz
(for tutus and all); second, a low-down blues for sax in his best STREETCAR
manner; and third, a pull-out-the-stops Latin American climax which can
honorably stand beside ZAPATA or WONDERFUL COUNTRY. If the timing on the
disc (which I haven't yet purchased) is to be believed, only one of these
three tracks is included, but which one?
I do hope the whole triad will be made available. An ALEX NORTH
AT FOX album would certainly be easy to fill, (if of course the tracks
have survived), considering the wealth of wonderful music this American
master penned for that studio.
As soon as Mr. Cutts aluded to a couple of delightful surprises,
I hoped that one of them would be the Cyril J. Mockridge, and was glad
to find that this was so. Definitely an unsung hero, Mr. Mockridge composed
one of my all-time favorite (but alas obscure) scores, for THE LUCK OF
THE IRISH. Lyrical, lively, so good and so Newmanesque that I once made
an inquiry to see if it had been ghosted by Alfred, but brother Lionel
assured me that it was all Mockridge. In a world where an acknowledged
classic like Raksin's AMBER is selling sluggishly, it's not likely we'll
see a disc any time soon of LUCK, but I highly recommend a viewing of the
film for the chance to enjoy Mockridge's score (and Cecil Kellaway's Oscar-nominated
leprechaun).
I don't have the Fox CD with me now, but hopefully someone can post
the info Preston seeks to our message
board.
From: Robert Feigenblatt, Robert0320@aol.com
I agree that this disc is truly wonderful. A few points, however.
The Best of Everything is not a main title cue. It starts out that way,
but then switches to the sophisticated subordiante theme for the character
played by Suzy Parker. As info, the film had a title song (lyric by Sammy
Cahn) sung by Johnny Mathis no less. The song was Oscar nominated. I assume
the Mathis tracks could not be licensed?! The cue from rains of Ranchipur
is entitled "Evening" on the CD. The actual title is "Pavillon"
from reel 6. Why the title change? Who knows?
Otherwise, a great treasure. All of us a soundtrack collectors should
go out and support this disc. While I don't usually advocate compilations,
let's face facts. Not every score will see its own release on CD and some
would be difficult to listen to if they were.
From: "Pulliam, Ron, GSA-RPM" <RPULLIAM@gsa.mail.co.alameda.ca.us>
John Cutts offered his usual concise, on-the-money comments on the
recent Varese Sarabande CD of Music from the Golden Age of 20th Century-Fox.
I, too, have this awful feeling that we'll never see complete issues
of any of these scores. However, perhaps if the series grows (Vol. 2, Vol.
3, Vol. 4, etc.) we'll end up getting all the cues we'll want from the
scores we love.
As wonderful as the Goldsmith-conducted "Viva Zapata"
is, the final cue from the film soundtrack on the "golden age"
CD is head and shoulders more impressive. Impressive, too, was the selection
from "Patton."
It would be interesting to know whether Varese's postponement of
"Prince Valiant" as a complete score album is actually a cancellation
of such an album.
I concur with Cutts' observations about "Rains of Ranchipur"
(absolutly conducted by Lionel Newman) and add that "Garden of Evil"
and "Prince of Players," along with "Viva Zapata,"
have all been re-recorded for other labels. It's great to have cues from
the OSTs, but it seems most likely that the inclusion of these titles was
because of the re-recordings.
Hopefully, enough interest will be generated by this sampler and
the re-recordings to merit an OST release either on Varese or on FSM's
Silver Age Classics.
Nicely done, John.
Women Composers
Re: my comments at the end of last
Friday's news column:
From: Fox <u221@saclink.csus.edu>
On women composers and directors:
Well, I don't get it, personally. Although I'd acertain that the
majority of assistant directors and production assistants are female. Besides,
when the few working female directors turn out movies like THE PEACEMAKER
and DEEP IMPACT, you begin to fear.
Historically speaking, composers are probably one of the most unigender
people around. How many famous female composers can you name? I can name
a few, and many of them I don't think were very good. (Chaminade, for example)
This isn't to say they aren't around- I know many aspiring female composers,
but they just don't seem to be successful. Perhaps a lasting vestige of
subconcious sexism. (BTW, Shirley Walker could score any action film! I
mean, come on, she did the batman cartoon!)
From: J W Broxton <J.W.Broxton@sheffield.ac.uk>
I too find it rather disturbing that there are so few female composers
around at the moment, although this trend does seem to be subsiding with
the recent Oscar wins for Rachel Portman and Anne Dudley (even though,
in my opinion, Dudley's win was nothing more than a sympathy vote for a
movie which wasn't going to win anything else).
One thing that strikes me, though, is the fact that most of the
top women composers all seem to be British. You mentioned Portman, Dudley
and Debbie Wiseman in your note last time: there's also Ilona Sekacz and
Fiachra Trench (Hans Zimmer's one-time collaborator). Off the top of my
head I can only think of Shirley Walker, Cynthia Millar and maybe Carly
Simon who are American and currently working. There's Wendy Carlos too,
of course, but she hasn't been heard of for years.
Personally, I think that the comparative success of British female
composers may be to do with the dreaded glass ceiling being slightly less
prominent here than it used to be, and the generally more open and non-sexist
attitudes of British society. And as for your comment about looks playing
a part, I would only hope that your tongue was firmly in your cheek when
you wrote that, otherwise we're in trouble. If this TRULY is the case of
how LA works, then I fear that Hollywood is even more screwed up than the
rest of the world would have us believe.
From: Kyu Hyun Kim <kyukim@ucdavis.edu>
I wanted to join in the chorus of "Right-On!!" following
your scorching editorial comment. You are not just right on the second
point (Shirley Walker being dissed because she wries "masculine"
music meanwhile other "feminine" composers are getting all the
dough and honors), but also on the first point ("looks" being
one of the important "qualities" sought in Tinseltown). I am
inclined to think that the second point applies not just to movie business,
but also to legal profession, (including judgeship), journalism, politics,
and even to academic jobs, although perhaps to a lesser degree. This is
depressing, but we have to acknowledge the current state before we can
make any change.
Garden of Evil
Also re: last week:
From: John Morgan, JMorgan643@aol.com
Glad to hear some discussion on our GARDEN OF EVIL CD. Basically
we did it because both Bill and I love the music and hate the film. As
for Bill taking THE CHASE cue faster than Herrmann, I was all for it. To
me, Herrmann's original is too slow for the music. It lacks a certain excitement
that is "in" the music. (I am not saying you are wrong to preferring
the original, that's fine. I just think both are legitimate interpretations.)
Of course the music is bombastic. That's not a dirty word in film music.
(Without bombast, John Williams would have no career at all....well, no
career after 1976.)
It may not be one of Herrmann's best dramatic scores, but I really
feel it is one of his most colorfully orchestrated scores and remains a
good listen away from the film.
Although Herrmann is and will remain one of my very favorites in
the film music world, I am enough of a listener to know that some of his
music really doesn't work away from the film as music. With GARDEN OF EVIL,
I just felt there was enough variety and color in the music to support
recording the entire score.
Finally...
From: "Brian Nettles" <cnettles@tarheel.net>
Did anyone notice the AIR FORCE ONE music being played during last
Friday's promo for the story about the capital shooting. It was the it
was the music from the hijacking. Just thought you might be interested
to know.
I didn't know this, but it's cool. In case you're wondering, yes, the
composer gets paid for uses of music in TV news and sporting events like
this.
Have a nice weekend! Happy almost August!
MailBag@filmscoremonthly.com
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